DOCSLIB.ORG

Evelyn Waugh Newsletter and Stud

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Evelyn Waugh Newsletter and Stud EVELYN WAUGH NEWSLETTER AND STUD EVELYN WAUGH NEWSLETTER AND STUDIES Vol. 37, No. 2 Autumn 2006 Evelyn Waugh and Cole Porter by John Howard Wilson Lock Haven University of Pennsylvania In De-Lovely (2004), the recent biopic of Cole Porter, various artists interpret several of Porter’s songs. These include “Night and Day,” sung by Kevin Kline as Porter and John Barrowman, who is billed only as “Musical Performer” but who plays the role of Guy Holden in Gay Divorce (1932), originally performed by Fred Astaire. De-Lovely also features “So in Love,” sung by Lara Fabian and Mario Frangoulis, who play Lilli Vanessi (Katherine) and Fred Graham (Petruchio) in Kiss Me, Kate (1948). After seeing these two works performed in the same film, I realized that they also coincide in the life and work of Evelyn Waugh. In his biography of Waugh, Christopher Sykes states that Waugh, his wife Laura, and his brother Alec “went to the new musical Kiss Me Kate” in New York in the autumn of 1950: “Evelyn was entranced by this ingenious and admirable entertainment in which a conventional musical comedy was with great skill conjoined with a performance of The Taming of the Shrew” (449). In a letter written on 8 November 1950, Alec described the experience as a “gay rich evening” (Stannard 269). Kiss Me, Kate has been Porter’s most popular musical, with memorable songs such as “Another Op’nin’, Another Show,” “Where is the Life that Late I Led?” and “Always True to You in My Fashion.” The show opened in New York on 30 December 1948 and ran for 1077 performances until it closed on 28 July 1951 (Hutchins). Thus the Waughs saw Kiss Me, Kate well into its run, after it had been playing for about one year and ten months. The show’s “principal backer” was Marguerite Cullman (McBrien 314), who had met Waugh on the train from Chicago to Los Angeles in February 1947 (Waugh, Diaries 672; Cullman 113-23; Stannard 186-8; Davis, Mischief 27-9), about a year before she became involved in Kiss Me, Kate. After Kiss Me, Kate opened in London on 8 March 1951, Sykes continues, “Evelyn went to it at least half a dozen times.” Waugh even took his daughter Teresa out of school to see the musical, on the pretext that they were attending a “Shakespeare matinée.” Seeking “spiritual guidance” from Sykes, Waugh wondered whether he should “confess this ingenious duping of the nuns,” and Sykes assured Waugh that he should (449-50). Kiss Me, Kate ran for 400 performances in London until it closed on 23 February 1952. Waugh’s attendance is difficult to date, because he did not keep a diary between October 1948 and September 1952, and he does not mention Kiss Me, Kate in published correspondence. Waugh’s enthusiasm is surprising, since he was not particularly musical, and he thought little of American culture. In London, moreover, reviews of Kiss Me, Kate were “mixed” (Eells 255), and the show closed after a little less than a year, less than half of its run in New York. Perhaps it is only a coincidence, but in his next novel, Waugh uses a song by Cole Porter. Waugh wrote Men at Arms in 1951 (Stannard 292), while Kiss Me, Kate was playing in London. In March 1953, Waugh started Officers and Gentlemen (Stannard 326). The Pinfold delusions interrupted composition, but Waugh finished the novel early in November 1954 (Stannard 357). Only two weeks before, Waugh had written to his research assistant to request “a copy of the words of Cole Porter’s ‘Night and Day’” (Letters 431). In “In the Picture,” Book Two of Officers and Gentlemen, Trimmer has fallen in love with Guy Crouchback’s ex-wife Virginia. Ian Kilbannock tries to persuade Trimmer to talk to American journalists, but Trimmer prefers to sing: “‘Night and day,’ crooned Trimmer, ‘you are the one. Only you beneath the moon and under the sun, in the roaring traffic’s boom—’” (Waugh, Sword 440). Characteristically, Trimmer gets the words out of order. The lines after “sun” are “Whether near to me or far / It’s no matter darling where you are / I think of you / Day and night….” The “roaring traffic’s file:////uol.le.ac.uk/...c144/My%20Documents/Evelyn%20Waugh/Evelyn%20Waugh%20Studies/Newsletters/Newsletters/Newsletter_37.2.htm[04/12/2013 14:44:46] EVELYN WAUGH NEWSLETTER AND STUD boom” (one of Porter’s weaker rhymes) occurs in the next verse, the song’s second. After being interrupted by Kilbannock, Trimmer gets the next two lines right: “In the silence of my lonely room I think of you” (Waugh, Sword 440). Kilbannock decides to call Virginia, and Trimmer “lapse[s] into song,” the third verse: “There’s oh such a burning, yearning, churning under the hide of me” (Waugh, Sword 441). This time Trimmer conflates two lines, “Under the hide of me / There’s an oh such a hungry yearning burning inside of me.” Kilbannock tells Virginia that Trimmer “says there’s a voice within him keeps repeating, ‘You, you, you’” (Waugh, Sword 441), the last line of the introduction, which leads into the first verse of “Night and Day,” crooned by Trimmer at the beginning of this section. Waugh’s dialogue reflects the circularity of the lyrics, as “Night and Day” is strongly linked from verse to verse. Dialogue also indicates why Virginia has tired of Trimmer: “Night and Day” is relatively long, and one critic called it a “tapeworm song” (Eells 99). Introduced in 1932, “Night and Day” became more and more popular in the 1930s, and it would have been a natural choice for Trimmer to sing in 1941, when the novel is set. The first biopic of Cole Porter was entitled Night and Day (1946), and Waugh may have seen the film. The song’s lyrics provide a link between two sections of the novel, as Guy goes through “Another day; another night” in the confusion of Crete, just before Trimmer croons “Night and Day.” Trimmer’s misplaced “under the hide of me” prepares for his meeting with American journalists. Kilbannock tells them that Trimmer is “a portent—the new officer which is emerging from the old hide-bound British Army,” though Joe Mulligan thinks Trimmer may be “high-bound” after all (Waugh, Sword 444). Waugh had taken the trouble to obtain the words to “Night and Day,” but he scrambled them to strengthen the link with the next section of the novel, to convey Trimmer’s lovesickness, and to emphasize Trimmer’s insecure grasp of details, also evident in his military training. Waugh was not yet finished with “Night and Day.” In Unconditional Surrender (1961), Virginia realizes that she is pregnant with Trimmer’s child, and she tries to have it aborted. As she goes to find Dr. Akonanga, Virginia hears “sounds which could only be the beat of a tom- tom. Virginia climbed towards it thinking of Trimmer who had endlessly, unendurably crooned ‘Night and Day’ to her. The beat of the drum seemed to be saying: ‘You, you, you’” (Waugh, Sword 556). This passage deliberately echoes the opening lines of the introduction to “Night and Day”: “Like the beat-beat-beat of the tom-tom / When the jungle shadows fall,” quoted by Kilbannock when he describes Trimmer’s singing as “excruciating” (Waugh, Sword 563). After two more similes, the song’s introduction leads to the line echoed by Kilbannock in Officers and Gentlemen: “So a voice within me keeps repeating you, you, you.” Virginia notices, among other things, “a cock, decapitated but unplucked, secured with nails to the table top, its wings spread open like a butterfly’s” (Waugh, Sword 556). Dr. Akonanga refuses to perform the abortion, since he is “now in the government service” and “Democracy is at stake” (Waugh, Sword 557). That night Virginia has a dream: “she was extended on a table, pinioned, headless and covered with blood-streaked feathers, while a voice within her, from the womb itself, kept repeating: ‘You, you, you’” (Waugh, Sword 557). Waugh added the references to “Night and Day” after he had finished the manuscript of Unconditional Surrender, as Robert Murray Davis discovered: they not only “strengthen the Trimmer motif” but also “emphasize Virginia’s sense of doom” (Evelyn Waugh 316). Virginia’s dream anticipates her death in the explosion of a German rocket. Virginia converts to Catholicism, confesses her sins, and gives birth, but Eloise Plessington was not “quite convinced that her new disposition would last.” Eloise believes that Virginia “was killed at the one time in her life when she could be sure of heaven—eventually” (Waugh, Sword 672). Purgatory goes unmentioned, but it is certainly suggested by Virginia’s dream of being pinned to a table, headless and bloody. In her dream, the baby in her womb is capable of speech, or telepathy, a feat that is superhuman, perhaps even divine. Virginia’s name, often said to be ironic, also recalls the Virgin Mary. The baby, eventually named Gervase Crouchback, may not be the Second Coming, but he does help to redeem Virginia, Guy, and Guy’s second wife, Domenica Plessington. Still in the womb, little Gervase keeps repeating “you, you, you,” emphasizing that the divine comedy becomes apparent through the salvation of individual souls, file:////uol.le.ac.uk/...c144/My%20Documents/Evelyn%20Waugh/Evelyn%20Waugh%20Studies/Newsletters/Newsletters/Newsletter_37.2.htm[04/12/2013 14:44:46] EVELYN WAUGH NEWSLETTER AND STUD in this case Virginia’s (and the reader’s?). As old Mr. Crouchback writes, “If only one soul was saved that is full compensation for any amount of loss of ‘face’” (Waugh, Sword 491)--or head.
Load more

Recommended publications
  • Displacement and Exile in Evelyn Waugh's Post-War Fiction
    Brno Studies in English Volume 42, No. 2, 2016 ISSN 0524-6881 DOI: 10.5817/BSE2016-2-6 Carlos Villar Flor Displacement and Exile in Evelyn Waugh’s Post-War Fiction Abstract Evelyn Waugh’s later fiction, especially his acclaimed trilogy known as Sword of Honour, is an indispensable source for a first-hand depiction of Britain’s in- volvement in the Second World War. Waugh’s millitary service in Croatia from 1944 to 1945 strengthened his concern for the predicament of the displaced per- sons and exiles he met there. Perhaps the clearest evidence of this new aware- ness is the privileged space that such characters find in these stories and the degree to which their suffering permeates the narratives they inhabit. My paper discuses Waugh’s treatment of displacement and exile in the final stages of the war trilogy and provides a historical background to his presentation of displaced persons, using Papastergiadis’s concept of deterritorialization as analytical tool. Keywords Evelyn Waugh; Sword of Honour; Scott-King’s Modern Europe; displacement; war refugees; World War II in literature For a first-hand depiction of Britain’s involvement in the Second World War, Evelyn Waugh’s later fiction is an indispensable source, especially his war trilogy known as Sword of Honour, which has received considerable critical acclaim.1 Very little, however, has been said about Waugh’s treatment of displacement and exile, even though these issues play a vital role in the final stages of the war tril- ogy. My paper sets out to fill this critical gap by providing a historical background to Waugh’s presentation of displaced persons, individuals removed from their na- tive country as refugees or prisoners who have managed to survive the slaughter but at the cost of becoming homeless, dispossessed and materially or spiritually humiliated.
    [Show full text]
  • An Eden with No Snake in It: Pure Comedy and Chaste Camp in The
    An Eden With No Snake in It: Pure Comedy and Chaste Camp in the English Novel by Joshua Gibbons Striker Department of English Duke University Date:_______________________ Approved: ___________________________ Victor Strandberg, Co-Supervisor ___________________________ Katherine Hayles, Co-Supervisor ___________________________ Kathy Psomiades ___________________________ Michael Moses Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2019 ABSTRACT An Eden With No Snake in It: Pure Comedy and Chaste Camp in the English Novel by Joshua Gibbons Striker Department of English Duke University Date:_______________________ Approved: ___________________________ Victor Strandberg, Co-Supervisor ___________________________ Katherine Hayles, Co-Supervisor ___________________________ Kathy Psomiades ___________________________ Michael Moses An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2019 Copyright by Joshua Gibbons Striker 2019 Abstract In this dissertation I use an old and unfashionable form of literary criticism, close reading, to offer a new and unfashionable account of the literary subgenre called camp. Drawing on the work of, among many others, Susan Sontag, Rita Felski, and Peter Lamarque, I argue that P.G. Wodehouse, E.F. Benson, and Angela Thirkell wrote a type of pure comedy I call chaste camp. Chaste camp is a strange beast. On the one hand it is a sort of children’s literature written for and about adults; on the other hand it rises to a level of literary merit that children’s books, even the best of them, cannot hope to reach.
    [Show full text]
  • EVELYN WAUGH STUDIES Vol
    EVELYN WAUGH STUDIES Vol. 48, No. 2 Fall 2017 CONTENTS Paul Pennyfeather and the Victorian Governess: 2 The Rejection of Nineteenth-Century Idealism in Decline and Fall Ellen O’Brien Put Out More Flags and Literary Tradition 13 Robert Murray Davis REVIEWS Fictional Counterparts 19 Commando General: The Life of Major General Sir Robert Laycock KCMG CB DSO, by Richard Mead. Reviewed by Donat Gallagher A Slow Build 25 Evelyn Waugh’s Satire: texts and Contexts, by Naomi Milthorpe. NEWS A Personal Note I Owe It All to Brideshead 29 David Bittner Evelyn Waugh Studies 2 Paul Pennyfeather and the Victorian Governess: The Rejection of Nineteenth-Century Idealism in Decline and Fall Ellen O’Brien Much has been written on the disputed use of satire in Evelyn Waugh’s first novel.1 While critics have offered various readings of the satirical elements in Decline and Fall (1928), the novel also invites discussion of the role of parody, farce, black humour, burlesque, the bildungsroman, the picaresque and the anti-hero in creating an amusing but damning representation of society between the wars. This difficulty identifying a clear style is possibly due to the elusive nature of Waugh’s moral critique, which is so subtle as to be “everywhere felt but nowhere expressed” (Heath 77). His satirical target has been variously described as the “the beastliness of undergraduate societies and the leniency of college authorities toward wealthy and aristocratic members… the morals and outlook of ‘smart’ society,” the mismanagement of private boarding schools, the prison system, and modern religion, (Nichols 51) and more broadly as “inconsistency, hypocrisy, cruelty and folly… a satirical engagement with contemporary anxieties about English cultural decline in the years following the Great War” (Milthorpe 2, 20).
    [Show full text]
  • Hilary Mantel Papers
    http://oac.cdlib.org/findaid/ark:/13030/c8gm8d1h No online items Hilary Mantel Papers Finding aid prepared by Natalie Russell, October 12, 2007 and Gayle Richardson, January 10, 2018. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © October 2007 The Huntington Library. All rights reserved. Hilary Mantel Papers mssMN 1-3264 1 Overview of the Collection Title: Hilary Mantel Papers Dates (inclusive): 1980-2016 Collection Number: mssMN 1-3264 Creator: Mantel, Hilary, 1952-. Extent: 11,305 pieces; 132 boxes. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: The collection is comprised primarily of the manuscripts and correspondence of British novelist Hilary Mantel (1952-). Manuscripts include short stories, lectures, interviews, scripts, radio plays, articles and reviews, as well as various drafts and notes for Mantel's novels; also included: photographs, audio materials and ephemera. Language: English. Access Hilary Mantel’s diaries are sealed for her lifetime. The collection is open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.
    [Show full text]
  • Download (4MB)
    Evelyn Waugh in his library at Piers Court In 1950. This photograph by Douglas Glass appeared in "Portrait Gallery" ln the Sunday T;m~s, January 7, 1951. Waugh had recently published Hel~nQ (1950), and he was about to start writing M~n at Arms (1952), the first volume of the trilogy that became Sword o/Honour (1965). C J. C. C. Glass "A Handful of Mischief" New Essays on Evelyn Waugh Edited by Donat Gallagher, Ann Pasternak Slater, and John Howard Wilson Madison· Teaneck Fairleigh Dickinson University Press Published by Fairleigh Dickinson University Press Co-publisbed with The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rlpgbooks.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright C 2011 by The Rowman & Littlefield Publishing Group, Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or me<:hanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Library of Congress Cataloguing-in-Publication Data on file under LC#2010016424 ISBN: 978-1-61147-048-2 (d. : alk. paper) eISBN: 978-1-61147-049-9 e"" The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences- Permanence of Paper for Printed Library Materials, ANSIINISO Z39.48-1992. Printed in the United States of America To Alexander Waugh, who keeps the show on the road Contents Acknowledgments 9 Abbreviations 11 Introduction ROBERT MURRAY DAVIS 13 Evelyn Waugh, Bookman RICHARD W.
    [Show full text]
  • Evelyn Waugh and FRIENDS
    Evelyn Waugh AND FRIENDS JONKERS RARE BOOKS EVELYN WAUGH AND FRIENDS 3 JONKERS RARE BOOKS 4 C A T A L O G U E 7 4 Evelyn Waugh AND FRIENDS JONKERS RARE BOOKS MMXVII CATALOGUE 74 Offered for sale by Jonkers Rare Books 27 Hart Street Henley on Thames RG9 2AR 01491 576427 (within the UK) +44 1491 576427 (from overseas) email: [email protected] website: www.jonkers.co.uk Payment is accepted by cheque or bank transfer in either sterling or US dollars and all major credit cards. All items are unconditionally guaranteed to be authentic and as described. Any unsatisfactory item may be returned within ten days of receipt. All items in this catalogue may be ordered via our secure website. The website also lists over 2000 books, manuscripts and pieces of artwork from our stock, as well as a host of other information. Cover illustration: Mark Gerson’s photo of Evelyn Waugh in the garden at Combe Florey, taken in 1963 Frontispiece: An illustration by Waugh and Derek Hooper (both aged 13) for The Cynic (item 2), Waugh’s prep-school magazine. Pastedown: Waugh’s ‘modernist’ bookplate used in the 1920’s, from item 4. 2 Introduction There has been a more than sufficient amount written about the life and writings of Evelyn Waugh to render any further rehashing of biographical information unneccesary here. However, the scope of the catalogue inevitibly takes the form of a timeline in artifacts. It begins with the proofs of Waugh’s first literary output, aged 7 and his contributions to school and university pub- lications, through to his comprehensive catalogue of published work: non-fiction first followed by his triumphant first novel and the further successes which followed.
    [Show full text]
  • EVELYN WAUGH NEWSLETTER and STUDIES Vol
    EVELYN WAUGH NEWSLETTER AND STUDIES Vol EVELYN WAUGH NEWSLETTER AND STUDIES Vol. 33, No. 3 Winter 2003 Wights Errant: Suffixal Sound Symbolism in the Novels of Evelyn Waugh by Simon Whitechapel He who hesitates is lost. Particularly in the novels of Evelyn Waugh, where little serves to damn a character as readily as hesitation and uncertainty. In the prologue to Brideshead Revisited (1945), for example, Charles Ryder accompanies his C.O. on an inspection of the camp: ‘Look at that,’ said the commanding officer. ‘Fine impression that gives to the regiment taking over from us.’ ‘That’s bad,’ I said. ‘It’s a disgrace. See that everything there is burned before you leave camp.’ ‘Very good, sir. Sergeant-major, send over to the carrier-platoon and tell Captain Brown that the C.O. wants this ditch cleared up.’ I wondered whether the colonel would take this rebuff; so did he. He stood irresolutely prodding the muck in the ditch, then he turned on his heel and strode away.1 The C.O. is never named, perhaps because Waugh had already bestowed his favorite suffix of contempt on another character in the prologue, Hooper, who accordingly joins Beaver, Trimmer, Atwater, Dr Messinger, Mulcaster, Corker, Salter, Lord Copper, Peter Pastmaster, Box-Bender, Pennyfeather, and Ryder among what might be called Waugh’s wights errant. The last two characters, who are partly autobiographical, prove that Waugh did not spare himself: Paul Pennyfeather, the hero of Decline and Fall (1928), suffers misfortune after misfortune because he is too trusting and unassertive, and Charles Ryder, the narrator of Brideshead, though perhaps partly shielded by his patrician “y”, is still worthy of serious blame for his behavior.
    [Show full text]
  • Marston Lafrance SWORD of HONOUR
    Marston LaFrance SWORD OF HONOUR: THE IRONIST PLACATUS Sword of Honour offers plenty of critical problems quite sufficient unto themselves, but they are further complicated by the mere fact of the trilogy's place in the canon. Because it comes at the end of Waugh's long career the reader is bound to be influenced, more or less unavoidably, by his general view of the earlier work, by his overall conception of an author whom he has enjoyed- or resented- for almost four decades. At least three such general views seem to have emerged over the years, and a brief look at them will suggest that a fourth might prove useful. Those readers who consider Waugh "essentially a comedian", 1 for example, should find Men at Arms the most attractive part of the trilogy, and thus it should surprise no one that this book, the least important of the three, has been called "the best of Waugh's novels".2 Readers convinced that Waugh is the twentieth century's archetypal snob, and prejudiced champion of a defunct aristocracy, must find Officers and Gentlemen impossible and parts of Unconditional Surrend er difficult to accept. Those who view him as primarily a disgruntled Tory satirist- probably the majority, and the best of the lot- will find abundant grist for their aesthetic mills throughout the trilogy, but they will also encounter solid blocks of material which their machinery canno t easily accommodate. There is nothing conspicuously satiric about the relationship between Guy and his father,3 about the deaths of Gervase and lvo, Tony Box-Bender's becoming a monk, Guy's betrayal by Virgini a, Guy's devotion to the ideal represented by Sir Roger of Waybroke, Guy's escape from Crete, Mr.
    [Show full text]
  • Books and Articles by Evelyn Waugh Black Mischief (1930), Harmondsworth: Penguin, 1938
    BIBLIOGRAPHY Books and articles by Evelyn Waugh Black Mischief (1930), Harmondsworth: Penguin, 1938. Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder (1945), Harmondsworth: Penguin, 1962. Decline and Fall (1928), Harmondsworth: Penguin, 1937. Edmund Campion (1935), London: Cassell, 1987. A Little Learning, London: Chapman and Hall, 1964. Put Out More Flags (1942), Harmondsworth: Penguin, 1976. Scott-King’s Modern Europe, in Work Suspended and Other Stories (1947), Harmondsworth: Penguin, 1982. The Sword of Honour Trilogy (1952, 1955, 1961), Harmondsworth: Penguin, 1984. Vile Bodies (1930), Harmondsworth: Penguin, 1938. “Beau Brummells on £60 A Year”, Daily Express, 13 February 1929, 5. “Commando Raid on Bardia”, Life, 17 November 1941, 63-66, 71, 72, 74. “Failure of a Mission”, review of Miss Fire, by Jasper Rootham, The Tablet, 11 May 1946, 241. “Fan-Fare”, Life, 8 April 1946, 53, 54, 56, 58, 60. “Introduction”, to Christie Lawrence, Irregular Adventure, London: Faber and Faber, 1947, 11-13. “Marshal Tito’s Regime”, The Times, 23 May 1945, 5. “Marshal Tito’s Regime”, The Times, 5 June 1945, 5 [both under the pseudonym “A British Soldier Lately in Yugoslavia”]. “Marshal Tito’s Visit”, Spectator, 19 December 1952, 846. “Marshal Tito’s Visit”, Sunday Times, 1 February 1953, 6. “Mr Waugh Replies”, Sunday Express, 14 December 1952, 3. “Our Guest of Dishonour”, Sunday Express, 30 November 1952, 2. “President Tito’s Visit”, The Times, 24 March 1953, 9. “A Self-Made Myth”, review of Tito Speaks: His Self Portrait and Struggle with Stalin by Vladimir Dedijer, The Month NS 9 (April 1953), 240-45. 332 In the Picture “Tito and Stepinac”, New Statesman and Nation, 31 January 1953, 122.
    [Show full text]
  • Evelyn Waugh Newsletter
    EVELYN WAUGH NEWSLETTER Volume 15, Number 2 Autumn 1981 THE NATURE OF A TRIMMER By Thomas A. Gribble Alan Watkins, in The Observer, and Auberon Waugh, in Books and Book men, have written that the character of Trimmer in the Sword of Honour trilogy might have been suggested by Lord Lovat, Waugh's superior officer in the commandoes who forced his resignation from the brigade in the summer of 1943. Certainly there was no love lost between these fellow Catholics. Lord Lovat's autobiography, March Past, contains one of the most vituperative portraits of Waugh in print. Waugh's diaries and letters show that he was deeply offended and wounded by what he considered to be a plot on Lord Lovat's part to remove him from the commandoes, and it is not far~fetched to surmise that he was striking back for his wartime humiliation by caricaturing the Scots aristocrat as a bogus hero and a former ladies hairdresser. It is ironic that Major General Robert Laycock, the commanding officer for whom Waugh had the utmost respect and to whom Officers and Gentlemen is dedicated, was, according to his obituary in The Times, the true possessor of tonsorial skills. Trimmer, however, !ike a!! of Waugh's characters, does not depend upon any rea! person for his existence. Waugh's characters all have their place in the design of his novels and that alone justifies their existence. Trimmer's function is to suggest certain characteristics of the 'wasteland' figures who inhabit the modern world described in Waugh's novels, the "hollow men" who have no true sense of identity.
    [Show full text]
  • Tom Stoppard
    Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60).
    [Show full text]
  • Catalogue 97
    Eastern Africa A catalogue of books concerning the countries of Kenya, Uganda, Tanzania, Rwanda, Burundi, and Malawi. Catalogue 97 London: Michael Graves-Johnston, 2007 Michael Graves-Johnston 54, Stockwell Park Road, LONDON SW9 0DA Tel: 020 - 7274 – 2069 Fax: 020 - 7738 – 3747 Website: www.Graves-Johnston.com Email: [email protected] Eastern Africa: Catalogue 97. Published by Michael Graves-Johnston, London: 2007. VAT Reg.No. GB 238 2333 72 ISBN 978-0-9554227-1-3 Price: £ 5.00 All goods remain the property of the seller until paid for in full. All prices are net and forwarding is extra. All books are in very good condition, in the publishers’ original cloth binding, and are First Editions, unless specifically stated otherwise. Any book may be returned if unsatisfactory, provided we are advised in advance. Your attention is drawn to your rights as a consumer under the Consumer Protection (Distance Selling) Regulations 2000. The illustrations in the text are taken from item 49: Cott: Uganda in Black and White. The cover photograph is taken from item 299: Photographs. East Africa. Eastern Africa 1. A Guide to Zanzibar: A detailed account of Zanzibar Town and Island, including general information about the Protectorate, and a description of Itineraries for the use of visitors. Zanzibar: Printed by the Government Printer, 1952 Wrpps, Cr.8vo. xiv,146pp. + 18pp. advertisements, 4 maps, biblio., appendices, index. Slight wear to spine, a very nice copy in the publisher’s pink wrappers. £ 15.00 2. A Plan for the Mechanized Production of Groundnuts in East and Central Africa. Presented by the Minister of Food to Parliament by Command of His Majesty February, 1947.
    [Show full text]